In Narayan's primarily Hindu setting, fate holds a prominent position. Every occurrence has a purpose, and human actions inevitably bring about consequences. The story centers on the astrologer's remorse for stabbing a fellow villager during his youth and fleeing to avoid punishment. This youthful misstep haunts him, causing him to live in constant fear of being identified. Ironically, it is the astrologer who recognizes his victim, not vice versa. Although he avoids formal punishment, the story ends with the idea that his years of regret are punishment enough. The narrative requires a suspension of disbelief, as Narayan's idea of fate transcends logical explanation. Nonetheless, Narayan's depiction of fate does not encourage resignation and still highlights the importance of personal actions within a larger cosmic framework.

Although religion is not explicitly highlighted in this story or much of Narayan's work, it remains a constant theme throughout his writing. In the world Narayan illustrates, religion is intricately integrated into everyday life. The astrologer's use of palmyra leaves, holy ash, and vermillion reflects his participation in religious customs. Ironically, he is similar to others in that he depends on deceiving unsuspecting individuals to make a living. There is no genuine conflict between his religious appearance and his occupation. The story emphasizes that religion is not depicted as a moral guide or a symbol of spirituality, but rather as a fundamental part of daily life.

Although the story centers on moral themes, it often mentions money. A significant portion of the plot revolves around the astrologer and his client haggling over the astrologer's payment. The narrative ends with the astrologer feeling frustrated after being cheated. Even the astrologer's wife is portrayed with a financial lens, focused on how much her husband has made and her plans for spending it. This captivating mix of financial and spiritual elements provides the story with a distinctive texture. While it subtly contrasts the two, it also emphasizes their coexistence.

It's clear that social realism isn't a primary focus for Narayan. Topics such as caste, gender, class, economic exploitation, and the environment are only occasionally touched upon in his work. However, this doesn't mean Narayan is naively idealistic or ignores the realities of contemporary India. Having experienced a time of significant change in India, Narayan shows an awareness of these issues in his essays. Nevertheless, he is deeply committed to the idea of an eternal India. Despite the changes brought about by colonialism, he perceives a fundamental unity in society and a lifestyle that has largely remained the same. In this story, signs of modernization are always present. Casual references to the Town Hall, the assortment of goods for sale, electric lights, and migration from villages serve to make the reader aware of these changes. Yet, the core of life remains mostly unchanged. Institutions like religion and marriage endure as before, and the progression of human life follows a path that has seen little alteration over time. One of the unique aspects of Narayan's work is his ability to juxtapose the past and present in a way that celebrates the past.